AnimauX veGeTal is the second release of the collaboration between Anne Gillis and XT (Seymour Wright & Paul Abbott). The trio began working together in 2018. Slowly, remotely (in Brussels, London and Paris respectively), they developed and grew the work ‘Our/s Bouture(s)’. It was broadcast to an in-person and on-line audience at Cafe OTO (London) in 2021 and later released on ArtIntoLife (Japan) in 2023.In 2022 they performed more together at Cafe OTO and Q-O2* (Brussels), growing, grafting, pruning and diffusing volatile elements of the broadcast (and accompanying film), planting and seeding new sounds and movement into and over what grew from the speakers.In September 2024 the three met again to record at XTUDIOs (London). 'AnimauX' and 'veGeTal' are what emerged. Shared, discrete and whole these two blocks show how the trio grow its own sound, and move on and into new things. The titles are named after the doings – audible and palpable, heard and felt – they capture the pulsing fact, fabric, and flourish of the matter, pace, and space of what grew and bloomed that day.-----------The zonal wheezing of a compression artifact projected through the inverted curvature of a slip-n-slide, coiling, tumescent, love's last gasp. The deadline has been exceeded. - Sunik Kim

‘Almost Something’ is the debut release of the long standing collaboration between artist/dj Laura Not and Andrew Hulme of O Yuki Conjugate. The two pieces cover a musical domesticism, developed around location recordings made in London and Berlin. The duo, known separately for their considered and attentive handling of collaged textures, rhythms and ambiences, offer up a sonic landscape where fugitive moments of creation meet the concrete sounds of everyday life. The unfamiliar is what sticks and encourages repeated listening, moving you back and forth between cities, dissonance and harmony. The tone of the album has a sustained dustiness, shrouded in a thick smog where feedback tones and scrapings on thick metal lurch at you. Sounds that can one minute appear as distant aeolian sediments suddenly become compact and then break into shards - you’re constantly in motion. You could almost liken it to feeling transported to an inner city reconstruction of Gordon Monahan’s ‘Aeolian Winds Over Claybank Saskatchewan’, if it stretched between the tunnels of the underground and the dark corner of a household boiler room.

We use the same method of what we did on Responses (Zappak, 2022): being in a place for a whole afternoon, but not playing together. We took turns on recording solo piece, and each session was a responses to the former one. Even the length was same with the former album (each one 7 minute). Only one difference: on this time we played outside but last time we played in room. There were lots of limitations from the lack of alternation electric power (and also the hot temperature and mosquito). But the open fields brought some possibilities on the other hand. Same as the former one, Sun Yizhou selected and paired these solos into duos, and I did the mixing work. I drew the cover of Responses, which was designed by Leo Okagawa. Thank you Leo, for accepting my submission and releasing it in 2022. It was the starting place of our new work.----Zhu Wenbo

'GAX is the duo of Seymour Wright (alto saxophone) and Vasco Alves (gaita de fole) and ‘as tradiçōes/the traditions’ is their first published recording. They started playing together in 2008 as regular participants in Eddie Prévost’s weekly, London workshop. GAX have rarely performed publicly, which only adds to the pleasure of being able to share this inimitable first release. Seymour Wright is known for his solo work, the duos XT with Paul Abbott, @xcrxswx with Crystabel Efemena Riley, and GUO with Daniel Blumberg, as well as his part in larger groups including أحمد [Ahmed] and X-Ray Hex Tet. Vasco Alves has previously released a solo record with gaita de fole and electronics ‘Gaita Contra Computador’ on After Action Review. ‘Estrada Longa’ for synths and voice was released on Cafe OTO’s TakuRoku, and reissued by Feedback Moves in 2024. He currently leads the exploratory bagpipe ensemble As Rochas da Ajuda. As well as GAX, his other ongoing collaborations include OndaXoque (with Pedro Rufino), a duo with Margarida Garcia. He has also performed extensively as a part of VA AA LR with Adam Asnan & Louie Rice. '‘The traditions/as tradiçōes’ was recorded across two days in the summer of 2023. Both pieces accentuate micro-motions in the interplay between Alves and Wright’s instruments. ‘The traditions’ folds and cuts, placing silent blocks between the duo’s play of sounds. The physicality of the performers is audible through the psychoacoustic oscillations and investigation of rich overtones. On ‘As tradiçōes’ Alves and Wright each play layered glissandi spanning the entire side of the record. Squalls of air from bellows and lungs control the slow, rising movement, grounded by and juxtaposed with a drone from one of Alves’ chanters which sharply fizzles at the pieces’ end, leaving in its shadow a short, continued blast of complex high tones.The 10" record comes housed in a matt-finish sleeve designed by Vasco Alves and includes a fold out poster. The photographs on the front cover and "as tradiçōes" side label are taken from the book 'Gaiteiros de Sesimbra' published by Associação Portuguesa Gaita de Foles.' 

Night Flights is a groundbreaking work from one of the most influential of the first generation sound artists. For some reason this staggering work has been left out of print for over 20 years. Night Flights has been remastered and includes updated liner notes from Christina Kubisch. Night Flights is being released in conjunction with Kubisch's release of new work for Important Records titled, Audible/Inaudible: Five Electrical Walks. “The compositions for Night Flights were realized in Milano in the period between 1983 and 1986. Milan at that time was a vivid and experimental place, with many international (mostly American) guests performing like Robert Wilson, John Cage, Trisha Brown, The Living, Laurie Anderson, etc.. At that time we were a group of several musicians working loosely together, exchanging knowledge about custom made instruments, the latest electronic devices, rare records, and information about where to go and what to listen to. "The lack of digital information and internet was one of the reasons for frequent meetings and musical experiments. We were determined to be the avant garde in a classical world of virtuosity. Davide Mosconi, Raffaele Serra, Riccardo Sinigaglia and others included myself had small but, seen from today's point of view, very artistic and exotic looking studios with many strange, often non-European instruments and all kinds of keyboards, electronic drums and tape recorders. The official studios from the conservatory were not available for us but not interesting as well. We tried to make multichannel recordings and mixes by ourselves, we invented long tape loops going through the whole room, echo effects and reverb. We became specialists in cutting and manipulating tapes. "The so-called non-European musical tradition was a permanent source of inspiration. The meeting and performances with Roberto Laneri, overtone singer and Indian music specialist, opened up new horizons. For several years I worked as well for the record company Raretone and was responsible for the release of the recordings of Giaconto Scelsi. I spent wonderful long days at his home, full with conversations about art and music. Alvin Curran, who took care of Scelsi's tapes and archive, often came by. "There was a special fertile atmosphere in the early eighties in Milano. Somehow all these activities and the search for new sound worlds and techniques were a vital step on the way to what today is called sound art, though the term was not common then. Some characteristics of what is defined as soundscapes or sound environment are included in Night Flights: a special interest in sound colours, musical structure based on may layers of natural recordings and the intent to open up the listener's space even with the limited means of a vinyl recording.” ~ Christina Kubisch

Central Palace Music, performed by Catherine Christer Hennix's just intonation ensemble The Deontic Miracle, is the first in a series of archival Hennix releases to be issued via Important Records. This previously unheard piece was taken from an eight day festival organized in the Spring of 1976 at the Museum of Modern Art in Stockholm. The group features Catherine Christer Hennix on Renaissance oboe and custom sinewave generators, Peter Hennix on Renaissance oboe and Hans Isgren on sheng. Central Palace Music is packaged in a deluxe letterpress package and is being released at the same time as a recent recording of Hennix's new ensemble, Live At Issue Project Room. "...Hennix has created a sound that reliably taps into our subconscious and frees us from linear time...." ~ The Quietus Catherine Christer Hennix (1948, Stockholm) is an artist, poet, composer and philosopher with a strong interest in logic and formal music theory. She was among the pioneers in Sweden experimenting with main-frame computer generated composite sound wave forms in the late 1960s, and in the 1970s she was a key protagonist in the Downtown School along with La Monte Young and Henry Flynt, with whom she has collaborated on numerous occasions. She pursued studies with raga master Pandit Pran Nath and led the Just Intonation live-electronic ensembles Hilbert Hotel and The Deontic Miracle, the recordings of the latter are presently being released by Important Records. She was a professor of mathematics and computer science, and assistant to and co-author with A.S. Esenin-Volpin for which she was given the Centenary Prize Fellow Award by the Clay Mathematics Institute in 2000. Hennix's interest in drone music and the meditative, trance-like state it induces is apparent in her exploration of similar music in many other cultures and traditions, drawing inspiration from the Japanese Gagaku music and the early, vocal, thirteenth-century music of Perotinus and Leoninus, for example. In 2003 she returned to computer generated composite sound wave forms now called Soliton(e)s of which Soliton(e) Star was the first result. Subsequently she formed the Just Intonation ensemble The Choras(s)an Time-Court Mirage which performs Blues Dhikir al- Salam (Live at the Grimmuseum, Vol. 1, Berlin, 2011, Important Records 2012). In 2012 Henry Flynt asked Hennix for a new, expanded realization of ISE for an installation at ZKM in Karlsruhe, Germany, to be featured in his retrospective/prospective show Henry Flynt Activities 1959 – at ZKM. In response Hennix realized a 4-channel composition, Rag Infinity/Rag Cosmosis, her first 4-channel computer assisted composition since 1969.